DOCSLIB.ORG

Celebrating 50 Years of Social Science 7-14 November 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Celebrating 50 Years of Social Science 7-14 November 2015 Celebrating 50 years of Social Science 7-14 November 2015 www.esrc.ac.uk/festival #esrcfestival 2015 programme booklet_FINAL.indd 1 22/09/2015 12:21 The ESRC Festival of Social Science is a week-long celebration of the social sciences with over 200 free SCOTLAND AND NORTHERN IRELAND events taking place across the UK for everyone from schoolchildren to politicians. Events include public (Re)imagining youth: public exhibition Glasgow 7-14 Nov debates, conferences, workshops, interactive seminars, Zombie science: genes of the damned Glasgow 7 & 8 Nov film screenings, virtual exhibitions, performance, and Obviously augmented breasts: the new fascination with inauthenticity Aberdeen 7 Nov much more. I'm a psychologist: get me out of here! Belfast 7 Nov The ESRC supports research and helps to guide policy HIV, mental health and minority rights Derry 7 Nov decisions to stimulate innovation, growth and business Why regret is not always a bad thing Belfast 7 Nov efficiency, profitability and success. Our research examines Track Aberdeen: touring George Washington Wilson’s city today Aberdeen 8 Nov the evidence around major issues, helping businesses, Glasgow: a datascape of Scotland’s largest city Glasgow 9 Nov voluntary bodies, public services and other organisations become more effective. Social science research generates Café conversation: Bennachie: community and archaeology Inverurie 9 Nov vital evidence and knowledge that is able to improve OPAL outdoor science Belfast 9 Nov people’s education, health, safety and wellbeing. As others see us: filmmakers and subjects Derry 9 Nov Active social bodies Derry 9 Nov CafeMED special: science in British Sign Language Aberdeen 9 Nov Data + technology = better travel? Aberdeen 9 Nov Social media: who are we talking to? Aberdeen 10 Nov Community wellbeing and regeneration Aberdeen 10 Nov Why don’t we like each other? Belfast 10 Nov RAI ethnomusicology - John Blacking memorial event Belfast 10 Nov History by numbers Belfast 10 Nov www.esrc.ac.uk/festival Social inequalities in higher education Edinburgh 11 Nov email: [email protected] Decoding workplace culture: engineering and marketing contexts Aberdeen 11 Nov #esrcfestival Cultures with more than two genders Aberdeen 11 Nov (In)dependence of the community and voluntary sector Belfast 11 Nov Capacity building for inclusion Belfast 11 Nov 2015 programme booklet_FINAL.indd 2 22/09/2015 12:21 KEY FOR A GENERAL AUDIENCE KNOWLEDGE EXCHANGE AND SPECIFIC INTEREST FOR YOUNG PEOPLE, SCHOOLS OR COLLEGES ACTIVITY LOCATION DATE KEY SCOTLAND AND NORTHERN IRELAND (Re)imagining youth: public exhibition Glasgow 7-14 Nov Zombie science: genes of the damned Glasgow 7 & 8 Nov Obviously augmented breasts: the new fascination with inauthenticity Aberdeen 7 Nov I'm a psychologist: get me out of here! Belfast 7 Nov HIV, mental health and minority rights Derry 7 Nov Why regret is not always a bad thing Belfast 7 Nov Track Aberdeen: touring George Washington Wilson’s city today Aberdeen 8 Nov Glasgow: a datascape of Scotland’s largest city Glasgow 9 Nov Café conversation: Bennachie: community and archaeology Inverurie 9 Nov OPAL outdoor science Belfast 9 Nov As others see us: filmmakers and subjects Derry 9 Nov Active social bodies Derry 9 Nov CafeMED special: science in British Sign Language Aberdeen 9 Nov Data + technology = better travel? Aberdeen 9 Nov Social media: who are we talking to? Aberdeen 10 Nov Community wellbeing and regeneration Aberdeen 10 Nov Why don’t we like each other? Belfast 10 Nov RAI ethnomusicology - John Blacking memorial event Belfast 10 Nov History by numbers Belfast 10 Nov Social inequalities in higher education Edinburgh 11 Nov Decoding workplace culture: engineering and marketing contexts Aberdeen 11 Nov Cultures with more than two genders Aberdeen 11 Nov (In)dependence of the community and voluntary sector Belfast 11 Nov Capacity building for inclusion Belfast 11 Nov 2015 programme booklet_FINAL.indd 3 22/09/2015 12:21 FOR A GENERAL AUDIENCE KEY The university living lab and collaborative research Manchester 10 Nov KNOWLEDGE EXCHANGE AND SPECIFIC INTEREST New classical music audiences through mobile technology Manchester 10 Nov FOR YOUNG PEOPLE, SCHOOLS OR COLLEGES Entrepreneurship, wellbeing and innovation Manchester 10 Nov Partners: exploring intimate relationships through ethnographic film Manchester 10 Nov ACTIVITY LOCATION DATE KEY Working cooperatively to support older people Liverpool 11 Nov SCOTLAND AND NORTHERN IRELAND Energy politics Aberdeen 12 Nov What is the point of research? Manchester 11 Nov Uprisings: political attitudes in seven Arab nations Aberdeen 12 Nov Reducing precarious employment in UK workplaces Manchester 11 Nov Get the most out of your data Glasgow 12 Nov Sharing knowledge about Female Genital Mutilation (FGM) Manchester 11 Nov 1+2: learning languages in Scotland’s primary schools Stirling 12 Nov Walkabout the city? Manchester 11 Nov A changing UK in a changing Europe Aberdeen 12 Nov Manchester schools' survey results event Manchester 11 Nov Should I buy flowers to say sorry? Belfast 12 Nov A community conversation Manchester 11 Nov Understanding eating disorders Belfast 12 Nov Social sciences and everyday influences Manchester 11 Nov Arts management research and practice in conversation Belfast 12 Nov Learning disabled people doing research and teaching Manchester 11 Nov Governance and data access an interactive approach Edinburgh 13 Nov Everything to gain and nothing to lose? Manchester 11 Nov Fighting for life: women, medicine and WWI Aberdeen 13 Nov Unequal me? Why inequality matters for everyone Manchester 11 Nov Our past alive: heritage in Gourdon and Torry Aberdeen 13 Nov Language matters: communication, culture and society Manchester 12 Nov Using maths for social and political studies Edinburgh 13 Nov Beyond the fracking polemic: ‘energy landscape’ game Manchester 12 Nov Making sense of migration and mobility Belfast 13 Nov CRESC annual lecture - devolution Manchester 12 Nov Reforming government in hard times Belfast 13 Nov Are you really my friend? Digital friendships Manchester 12 Nov History of the LGBT movement in Aberdeen Aberdeen 14 Nov Election 2015: six months on Manchester 12 Nov Why and when do young people start smoking? Belfast 14 Nov What makes an age friendly city? Manchester 13 Nov Discovering neighbourhood statistics Manchester 13 Nov NORTH WEST ESRC Changing World photographic exhibition Manchester 7-14 Nov Citizen social science, crowdsourcing social science research Manchester 13 Nov “My country is the whole world” - V.Woolf Liverpool 7 Nov Hard feelings: the science of emotion Manchester 14 Nov Planning festivals, making zines: learning from Ladyfest Manchester 7 Nov Youth of today: being young in Manchester Manchester 14 Nov Kids say the funniest things Manchester 7 Nov Bridging the digital divide Manchester 14 Nov The lapsed clubber - exhibition Manchester 7 Nov NORTH EAST AND YORKSHIRE Introducing quantitative methodology: working with numbers Manchester 7 Nov Science in the park Bakewell 7 Nov Asylum and the city: discussing displacement Manchester 10 Nov My country my vote Huddersfield 7 Nov 2015 programme booklet_FINAL.indd 4 22/09/2015 12:21 ACTIVITY LOCATION DATE KEY The university living lab and collaborative research Manchester 10 Nov New classical music audiences through mobile technology Manchester 10 Nov Entrepreneurship, wellbeing and innovation Manchester 10 Nov Partners: exploring intimate relationships through ethnographic film Manchester 10 Nov KEY Working cooperatively to support older people Liverpool 11 Nov SCOTLAND AND NORTHERN IRELAND Energy politics Aberdeen 12 Nov What is the point of research? Manchester 11 Nov Uprisings: political attitudes in seven Arab nations Aberdeen 12 Nov Reducing precarious employment in UK workplaces Manchester 11 Nov Get the most out of your data Glasgow 12 Nov Sharing knowledge about Female Genital Mutilation (FGM) Manchester 11 Nov 1+2: learning languages in Scotland’s primary schools Stirling 12 Nov Walkabout the city? Manchester 11 Nov A changing UK in a changing Europe Aberdeen 12 Nov Manchester schools' survey results event Manchester 11 Nov Should I buy flowers to say sorry? Belfast 12 Nov A community conversation Manchester 11 Nov Understanding eating disorders Belfast 12 Nov Social sciences and everyday influences Manchester 11 Nov Arts management research and practice in conversation Belfast 12 Nov Learning disabled people doing research and teaching Manchester 11 Nov Governance and data access an interactive approach Edinburgh 13 Nov Everything to gain and nothing to lose? Manchester 11 Nov Fighting for life: women, medicine and WWI Aberdeen 13 Nov Unequal me? Why inequality matters for everyone Manchester 11 Nov Our past alive: heritage in Gourdon and Torry Aberdeen 13 Nov Language matters: communication, culture and society Manchester 12 Nov Using maths for social and political studies Edinburgh 13 Nov Beyond the fracking polemic: ‘energy landscape’ game Manchester 12 Nov Making sense of migration and mobility Belfast 13 Nov CRESC annual lecture - devolution Manchester 12 Nov Reforming government in hard times Belfast 13 Nov Are you really my friend? Digital friendships Manchester 12 Nov History of the LGBT movement in Aberdeen Aberdeen 14 Nov Election 2015: six months on Manchester 12 Nov Why and when do young people start smoking? Belfast 14 Nov What makes an age friendly city? Manchester 13 Nov Discovering neighbourhood statistics Manchester 13 Nov NORTH WEST ESRC Changing World photographic exhibition
Load more

Recommended publications
  • Shane Dedman, B. 1993
    Shane Dedman, B. 1993 Filmmaker + Writer Education + PA Academy with Linda Burns, Atlanta, 2020 + Audit, Film 4750: Film Theory & Criticism, Daren Fowler, GSU, Atlanta, 2019 + Bachelors of Fine Arts in Photography, Georgia State University, Atlanta, 2016 Solo Exhibition + Fidgette: Watercolor Improvisations, Mammal Gallery, Atlanta, 2018 Select Group Exhibitions + Virtual Remains, Atlanta Biennial, Atlanta Contemporary, Atlanta, 2021 + I'm Looking Forward to Tomorrow, Good News Arts, High Springs, FL 2020 + Mass Hysteria, The Bakery, Atlanta, GA, 2018 + The Gathering curated by Iman Person, WonderRoot, Atlanta, 2018 + Radiopolis, Theater Kefalos, Argostoli, with Craig Dongoski, Kefalonia, Greece, 2017 + Got It For Cheap, Zero Zero LA, Atlanta Contemporary, Atlanta, 2017 + WonderRoots’ Imaginary Million, The Forum at Defoor, Atlanta, 2017 + Dear Atlanta... Artists for Liliana Bakhtiari, Big Tree Arts Atlanta, 2017 + Verde // Clutch, Midtown Player’s Club, Atlanta, 2017 + The Hambidge Center Auction, Colony Square, Atlanta, 2017 + You are Welcome, You're Welcome, Mint Gallery for Hambidge Hive, Atlanta, 2017 + The MANologues, BECOMING hu-MAN, Switchyards Downtown Club, Atlanta, 2017 + Burnaway’s Art Crush, Gallery 874, Atlanta, 2017 + Love and Death, Kibbee Gallery, Atlanta, 2017 + BFA Exiting Show, Fall 2016, Ernest G. Welch Gallery, Georgia State University, 2016 + Percolate, Facing Race Conference, WonderRoot, Atlanta, 2016 + Identity Crisis, Eyedrum Gallery, Atlanta, 2016 + SOUTH Annual Exhibition, Kibbee Gallery, Atlanta, 2016 + Becoming
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation “We’re Punk as Fuck and Fuck like Punks:”* Queer-Feminist Counter-Cultures, Punk Music and the Anti-Social Turn in Queer Theory Verfasserin Mag.a Phil. Maria Katharina Wiedlack angestrebter akademischer Grad Doktorin der Philosophie (Dr. Phil.) Wien, Jänner 2013 Studienkennzahl lt. Studienblatt: A 092 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin / Betreuer: Univ. Prof.in Dr.in Astrid Fellner Earlier versions and parts of chapters One, Two, Three and Six have been published in the peer-reviewed online journal Transposition: the journal 3 (Musique et théorie queer) (2013), as well as in the anthologies Queering Paradigms III ed. by Liz Morrish and Kathleen O’Mara (2013); and Queering Paradigms II ed. by Mathew Ball and Burkard Scherer (2012); * The title “We’re punk as fuck and fuck like punks” is a line from the song Burn your Rainbow by the Canadian queer-feminist punk band the Skinjobs on their 2003 album with the same name (released by Agitprop Records). Content 1. Introduction .......................................................................................................... 1 2. “To Sir With Hate:” A Liminal History of Queer-Feminist Punk Rock ….………………………..…… 21 3. “We’re punk as fuck and fuck like punks:” Punk Rock, Queerness, and the Death Drive ………………………….………….. 69 4. “Challenge the System and Challenge Yourself:” Queer-Feminist Punk Rock’s Intersectional Politics and Anarchism……...……… 119 5. “There’s a Dyke in the Pit:” The Feminist Politics of Queer-Feminist Punk Rock……………..…………….. 157 6. “A Race Riot Did Happen!:” Queer Punks of Color Raising Their Voices ..……………..………… ………….. 207 7. “WE R LA FUCKEN RAZA SO DON’T EVEN FUCKEN DARE:” Anger, and the Politics of Jouissance ……….………………………….………….
    [Show full text]
  • Read Razorcake Issue #27 As A
    t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
    [Show full text]
  • Zehn Jahre Ladyfest P Art Icipate 01.2012
    KULTUR AKTIV GESTALTEN ISSUE 10 | Seite 1 Zehn Jahre Ladyfest p art icipate 01.2012 //Elke Zobl Zehn Jahre Ladyfest Kulturelle Produktion und rhizomatische Netzwerke junger Frauen Eine der interessantesten Transformationen in der Jugendkultur seit den 1990er Jahren ist die steigende Zahl an Jugendlichen, die als aktive kulturelle ProduzentInnen eine große Vielfalt an Filmen, Musik und Medien hervorbringen *( 2 ). Ein neues Phänomen in der weiblichen Jugendkultur ist das Wachstum von queer- feministischen Festivals, den so genannten Ladyfesten. Ladyfeste sind nicht- kommerzielle, kulturelle Festivals, die von und für junge Frauen organisiert werden, um ihren künstlerischen und politischen Arbeiten ein Forum zu bieten. In diesem Artikel argumentiere ich, dass die lokalen, transnationalen und virtuellen Ladyfest- Szenen einen fruchtbaren Ausgangspunkt bieten, um Einblick in die rhizomatischen Netzwerke kultureller Produktion von jungen Frauen zu gewinnen. Nach einer Netzwerk-Begriffsklärung und einer kurzen Beschreibung der Entwicklung der Ladyfeste analysiere ich diese Netzwerke und weise zum Schluss auf offene Fragen hin. In dem Artikel werden Ergebnisse des Forschungsprojektes “Young women as creators of new cultural spaces” (gefördert vom Fonds für wissenschaftliche Forschung Österreich, 2007–2011) präsentiert und diskutiert. Das Projekt – angesiedelt am Fachbereich Kommunikationswissenschaft sowie am Schwerpunkt Wissenschaft und Kunst der Universität Salzburg – nahm transnationale Ladyfeste als Beispiel und Ausgangspunkt, um die kulturellen Praktiken junger Frauen zu untersuchen (s. www.grassrootsfeminism.net). Bildet Rhizome und keine Wurzeln, pflanzt nichts an! Sät nichts aus, sondern nehmt Ableger! Seid weder eins noch multipel, seid Mannigfaltigkeiten! Zieht Linien, setzt nie einen Punkt! Geschwindigkeit macht den Punkt zur Linie! Seid schnell, auch im Stillstand! Glückslinie, Hüftlinie, Fluchtlinie. Lasst den General in euch aufkommen! Ihr braucht keine richtigen Ideen zu haben, nur habt eine Idee (Godard).
    [Show full text]
  • Personal Histories of the Second Wave of Feminism
    Personal Histories of the Second Wave of Feminism summarised from interviews by Viv Honeybourne and Ilona Singer Volumes One and Two 1 Feminist Archive Oral History Project Foreword by the Oral History Project Workers Ilona Singer and Viv Honeybourne The Oral History Project has been a fantastic opportunity to explore feminist activism from the 1970's onwards from the unique perspectives of women who were involved. We each conducted ten in depth qualitative interviews which were recorded (the minidisks will be kept at the archive as vital pieces of history themselves) and written up as an oral history. We used the open-ended questions (listed as an appendix), so as to let the women speak for themselves and not to pre-suppose any particular type of answer. We tried to involve our interviewees as much as possible in every stage of the research process. Many interviewees chose to review and amend the final write-ups and we were happy to let them do this so that they could have control over how they wished to be represented. The use of a snowball sampling method and the fact that our interviewees were willing volunteers means that these histories (herstories) are not meant to be representative in a strictly scientific sense. Some women were more publicly active in the period than others, but all our of interviewees had important stories to tell and vital reflections on the period. The oral histories have been included in alphabetical order. They are of differing lengths because some women spoke for longer than others and we felt that to strive excessively to limit their words would be imposing an artificial limit on their account of their own lives .
    [Show full text]
  • Download PDF > Riot Grrrl \\ 3Y8OTSVISUJF
    LWSRQOQGSW3L / Book ~ Riot grrrl Riot grrrl Filesize: 8.18 MB Reviews Unquestionably, this is actually the very best work by any article writer. It usually does not price a lot of. Once you begin to read the book, it is extremely difficult to leave it before concluding. (Augustine Pfannerstill) DISCLAIMER | DMCA GOKP10TMWQNH / Kindle ~ Riot grrrl RIOT GRRRL To download Riot grrrl PDF, make sure you refer to the button under and download the document or gain access to other information which might be related to RIOT GRRRL book. Reference Series Books LLC Jan 2012, 2012. Taschenbuch. Book Condition: Neu. 249x189x10 mm. Neuware - Source: Wikipedia. Pages: 54. Chapters: Kill Rock Stars, Sleater-Kinney, Tobi Vail, Kathleen Hanna, Lucid Nation, Jessicka, Carrie Brownstein, Kids Love Lies, G. B. Jones, Sharon Cheslow, The Shondes, Jack O Jill, Not Bad for a Girl, Phranc, Bratmobile, Fih Column, Caroline Azar, Bikini Kill, Times Square, Jen Smith, Nomy Lamm, Huggy Bear, Karen Finley, Bidisha, Kaia Wilson, Emily's Sassy Lime, Mambo Taxi, The Yo-Yo Gang, Ladyfest, Bangs, Shopliing, Mecca Normal, Voodoo Queens, Sister George, Heavens to Betsy, Donna Dresch, Allison Wolfe, Billy Karren, Kathi Wilcox, Tattle Tale, Sta-Prest, All Women Are Bitches, Excuse 17, Pink Champagne, Rise Above: The Tribe 8 Documentary, Juliana Luecking, Lungleg, Rizzo, Tammy Rae Carland, The Frumpies, Lisa Rose Apramian, List of Riot Grrl bands, 36-C, Girl Germs, Cold Cold Hearts, Frightwig, Yer So Sweet, Direction, Viva Knievel. Excerpt: Riot grrrl was an underground feminist punk movement based in Washington, DC, Olympia, Washington, Portland, Oregon, and the greater Pacific Northwest which existed in the early to mid-1990s, and it is oen associated with third-wave feminism (it is sometimes seen as its starting point).
    [Show full text]
  • Gender, Ethnicity, and Identity in Virtual
    Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225
    [Show full text]
  • Whipping Girl
    Table of Contents Title Page Dedication Introduction Trans Woman Manifesto PART 1 - Trans/Gender Theory Chapter 1 - Coming to Terms with Transgen- derism and Transsexuality Chapter 2 - Skirt Chasers: Why the Media Depicts the Trans Revolution in ... Trans Woman Archetypes in the Media The Fascination with “Feminization” The Media’s Transgender Gap Feminist Depictions of Trans Women Chapter 3 - Before and After: Class and Body Transformations 3/803 Chapter 4 - Boygasms and Girlgasms: A Frank Discussion About Hormones and ... Chapter 5 - Blind Spots: On Subconscious Sex and Gender Entitlement Chapter 6 - Intrinsic Inclinations: Explaining Gender and Sexual Diversity Reconciling Intrinsic Inclinations with Social Constructs Chapter 7 - Pathological Science: Debunking Sexological and Sociological Models ... Oppositional Sexism and Sex Reassignment Traditional Sexism and Effemimania Critiquing the Critics Moving Beyond Cissexist Models of Transsexuality Chapter 8 - Dismantling Cissexual Privilege Gendering Cissexual Assumption Cissexual Gender Entitlement The Myth of Cissexual Birth Privilege Trans-Facsimilation and Ungendering 4/803 Moving Beyond “Bio Boys” and “Gen- etic Girls” Third-Gendering and Third-Sexing Passing-Centrism Taking One’s Gender for Granted Distinguishing Between Transphobia and Cissexual Privilege Trans-Exclusion Trans-Objectification Trans-Mystification Trans-Interrogation Trans-Erasure Changing Gender Perception, Not Performance Chapter 9 - Ungendering in Art and Academia Capitalizing on Transsexuality and Intersexuality
    [Show full text]
  • Kultur Von Allen
    KULTUR VON ALLEN GEGENWÄRTIGE FORMEN UND AUSPRÄGUNGEN VON DO-IT-YOURSELF ALS GEGENKULTUR Masterarbeit zur Erlangung des akademischen Grades Master of Arts in Business (M.A.) Eingereicht bei: Fachhochschule Kufstein Tirol Bildungs GmbH Sport-, Kultur- und Veranstaltungsmanagement Verfasserin: Jasmine Türk 1310340996 Betreuerin: Prof. (FH) Dr. Verena Teissl Abgabedatum: 24.04.2015 I Vorwort An dieser Stelle möchte ich mich bei allen Personen bedanken, die zum positiven Verlauf dieser Masterarbeit wesentlich beigetragen haben. Als erstes möchte ich mich bei Frau Prof. (FH) Dr. Verena Teissl für die freundliche und stets bemühte Betreuung bedanken. Meinen Eltern, Hiltrud und Dietmar, gilt besonderer Dank – ohne eure Unterstützung wäre mein Studium nicht möglich gewesen, danke für alles! Ein großes Danke auch an alle Korrekturleser! Darüber hinaus möchte ich mich noch bei Linda, Julia, Martina, und Andrea bedanken, die zwar nichts mit dieser Arbeit zu tun haben, aber trotzdem spitze sind. Last but not least, DANKE an Martin, der mir immer motivierend zur Seite gestanden ist und Verständnis hatte für die vielen Stun- den, die wir nicht gemeinsam verbracht haben. II Eidesstattliche Erklärung Ich erkläre hiermit, dass ich die vorliegende Masterarbeit selbständig und ohne frem- de Hilfsmittel verfasst und in der Bearbeitung und Abfassung keine anderen als die angegebenen Quellen oder Hilfsmittel benutzt sowie wörtliche und sinngemäße Zita- te als solche gekennzeichnet habe. Die vorliegende Masterarbeit wurde nicht ander- weitig für Prüfungszwecke
    [Show full text]
  • Contributors
    CONTRIBUTORS Thomas Allen studied English and Philosophy at Newcastle University and at the University of Sussex. He is currently living in Berlin and pre- paring papers on Adorno’s aesthetics, as well as an extended thesis on the Frankfurt School and photography. Photographic attempts can be witnessed at http://www.tomallenphotography.net./ Email: t.callen1@ya- hoo.co.uk. Alexa Athelstan ([email protected]) is a University of Leeds Research Scholarship funded PhD student at the Centre for Interdisciplinary Gen- der Studies, supervised by Dr. Shirley Anne Tate and Professor Ian Law from the Centre for Ethnicity and Racism Studies. Her PhD research theorises queer, alternative and subversive modes of feminine embodi- ment and subjectivity in everyday life. Further research interests pertain to gender, feminist and queer theory, critical femininity studies, everyday experiences and representations of embodiment and identity, intersec- tional approaches to power and identity, visual methodologies, as well as discursive formations and daily practices of age and ageism. Alexa was one of the editors of the October 2011 GJSS special edition ‘Thriving on the Edge of Cuts: Inspirations and Innovations in Gender Studies’, GJSS Vol. 8 (2). Currently, Alexa Athelstan edits the Graduate Journal of Social Science in collaboration with Rosemary Deller (Manchester University). Email: [email protected] Gwendolyn Beetham received her PhD from the Gender Institute at the London School of Economics, where her work examined the reproduc- tion of gender stereotypes in international development programming. She currently lives in Brooklyn, New York, where she does consulting for gender justice organizations, edits the column The Academic Feminist at Feministing.com and participates in feminist, queer and food justice ac- tivism.
    [Show full text]
  • 'Race Riot' Within and Without 'The Grrrl One'; Ethnoracial Grrrl Zines
    The ‘Race Riot’ Within and Without ‘The Grrrl One’; Ethnoracial Grrrl Zines’ Tactical Construction of Space by Addie Shrodes A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Winter 2012 © March 19, 2012 Addie Cherice Shrodes Acknowledgements I wrote this thesis because of the help of many insightful and inspiring people and professors I have had the pleasure of working with during the past three years. To begin, I am immensely indebted to my thesis adviser, Prof. Gillian White, firstly for her belief in my somewhat-strange project and her continuous encouragement throughout the process of research and writing. My thesis has benefitted enormously from her insightful ideas and analysis of language, poetry and gender, among countless other topics. I also thank Prof. White for her patient and persistent work in reading every page I produced. I am very grateful to Prof. Sara Blair for inspiring and encouraging my interest in literature from my first Introduction to Literature class through my exploration of countercultural productions and theories of space. As my first English professor at Michigan and continual consultant, Prof. Blair suggested that I apply to the Honors program three years ago, and I began English Honors and wrote this particular thesis in a large part because of her. I owe a great deal to Prof. Jennifer Wenzel’s careful and helpful critique of my thesis drafts. I also thank her for her encouragement and humor when the thesis cohort weathered its most chilling deadlines. I am thankful to Prof. Lucy Hartley, Prof.
    [Show full text]
  • Abstract This Article Considers the Spatial Politics of Contemporary
    Abstract This article considers the spatial politics of contemporary performance spaces constructed through DIY, improvised noise scenes. Noise (as something performed) is often categorized as “experimental,” “free,” or “avant garde.” It carries associations of emancipation, eschewing as it does conventional musical training, and the constraints of formal compositional and linguistic expression. Unfolding as a debate between the two authors, this article reflects on the contributions post-structural feminist theory brings to an understanding of where and how women practitioners negotiate noise-performance spaces. By considering noise as a conceptual object as well as noise as sonic performance, and by reflecting on debates around radical democracy, the authors debate the issue of female-only performance spaces and their implications on what we can express and how we might be understood. This contribution seeks to initiate further debate on the inherent complexities of how women create and negotiate spaces of noise performance in the face of normative assumptions and associations that have simplified the debate – for example, that the loud, discordant, and arrhythmic is obnoxious, dangerous, and historically a masculine domain. Keywords Free Improvisation, noise, spatial politics, gender, pre-figurative politics Susan: The following exchange considers the gender and spatial politics at work in the performance of experimental free improvised noise at DIY events in the UK and Europe. It takes the form of a conversation which took place over email from March to April 2013. I asked Marie if she would be prepared to write collaboratively with me because I thought it would help me clarify what I am doing as an improviser in sound and music.
    [Show full text]